BY LAUREN GUNDERSON & MARGOT MELCON DIRECTED BY ELEANOR HOLDRIDGE ROLLING WORLD PREMIERE
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FROM OUR LEADERS I write this a few days after the election as protests continue to grow in cities throughout our country. I suspect that if the shoe were on the other foot - if Hillary Clinton had won the electoral college but Donald Trump had won the popular vote - we would be in the same place. The divisions in this country are so deep that conflict sadly seems inevitable. Of course, dissent isn’t new for our country. From the Constitutional Convention through the Civil War, women’s suffrage, civil rights, Vietnam, and gay rights, the march towards progress has always been hard fought. But this campaign felt different. Decades of political polarization and demonization of the other side exploded into the most vicious, hateful, crude presidential election in history. Now we must pick up the pieces and move on. I am neither naive nor optimistic enough to believe that theater alone can heal the divisions in our country. But I believe strongly that the only way we can heal is to have more empathy for each other, and theater is the best tool we have for expanding empathy. We can’t expand our empathy if we don’t expand the stories we tell, so a few years ago, Round House committed to gender parity and racial inclusion on our stage. Miss Bennet is the first of three plays this season that tell the story of a strong woman fighting the conventions and circumstances of her time. We then end the season with an autobiographical story by one of America’s greatest playwrights about what it means to be a black artist in this country. I can’t tell you what we’re going to produce next season yet, but I can promise you that it will feature stories of communities that you’ve rarely seen on our stage. Thanks for being a part of our conversations!
RYAN RILETTE ROUND HOUSE THEATRE ARTISTIC DIRECTOR
I can’t begin to tell you how joyful I am to have joined the Round House family. My first few months have been inspirational and motivational – not only meeting so many wonderful people, but also getting to kick off my tenure with our epic co-production of Angels in America. As I write this letter, we are adjusting to the reality of an election result that most people did not see coming. Regardless of where you stand on the political spectrum, I think everyone would agree that this election made painfully apparent the deep division in how Americans view our country. We all share a responsibility to try to reconcile and bridge this gap moving forward. I have spent my life working in the arts because I believe wholeheartedly in the power of art – especially theatre – to change hearts and transform how people view the world. “To hold, as ‘twere, a mirror up to nature,” as Shakespeare said. Because of this, we at Round House remain committed to telling stories that inspire compassion, evoke emotions, and demand conversation. Now more than ever. After the election, I posted on social media an alteration of what Leonard Bernstein said in response to the tumult of the 1960s: “This must be our reply: to make art more truthfully, more emotionally, more intensely than ever before.” Coincidentally, the three shows remaining in our season all deal, at least in part, with America in the Sixties, one of the most disruptive decades in our history. The season moves from Caroline, or Change, a powerful musical set in the American South during the civil rights movement, to Or, which draws parallels between the Sixties and the 1660s Restoration era, to How I Learned What I Learned, an autobiographical play from the playwright who, in 1960s Pittsburgh, changed his name to August Wilson and started writing plays. Round House welcomes a diversity of opinions and encourages dialogue, so I urge you to not only return for these shows, but also to join us for a post-show discussion (dates are on our website) to engage more fully in the work. I hope to see you there.
ED ZAKRESKI ROUND HOUSE THEATRE MANAGING DIRECTOR
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SPONSOR
SPOTLIGHT Round House Theatre extends its deep gratitude to Pasternak & Fidis, sponsor of Miss Bennet: Christmas at Pemberley. ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, DC metropolitan area, producing a six-show season of modern classics, new plays, and musicals for more than 33,000 patrons each year at our 400seat theater in Bethesda. Round House has been nominated for 151 Helen Hayes Awards and has won 30. Its productions have won “Outstanding Resident Play” four times. Round House’s education and outreach programs serve 4,000 students each year at its Bethesda theater, at its Silver Spring Education Center and in schools throughout Montgomery County. Cornerstone programs include its Intersections in-school literacy program, its Play It Forward program that provides free tickets for high school students, Student Matinees for each production, its unique Teen Performance Company that culminates in the student-produced Sarah Metzger Memorial Play, and year-round Classes for Adults & Youth.
Bethesda-based Pasternak & Fidis, P.C. is delighted to sponsor Round House Theatre’s production of Lauren Gunderson and Margot Melcon’s Miss Bennet: Christmas at Pemberley. “This is world class theatre in the heart of Bethesda,” says partner Linda Ravdin. Managing Partner Nancy Fax is thrilled to support the theatre for an eighth season: “Each season, the artists at Round House challenge and inspire our community, and we are pleased to contribute to their efforts.” At Pasternak & Fidis, we have deep experience in family law, estate planning and administration, and fiduciary litigation. We’ve gained this practical knowledge over 35 years of working with individuals, couples and families all across the DC metro area. As trusted family advisors, we have provided decades of quality representation, and we will continue to serve our clients and their families for years to come.
RoundHouseTheatre.org @RHT_RoundHouse Round House Theatre
To become a sponsor for an upcoming Round House Theatre production, please contact Director of Development Laura Blackwelder at 240.644.1404.
R O U N D H O U S E T H E AT R E presents
MISS BENNET CHRISTMAS AT PEMBERLEY
ARTIST TRANSPORTATION PROVIDED BY
BY LAUREN GUNDERSON & MARGOT MELCON DIRECTED BY ELEANOR HOLDRIDGE
MAJOR FUNDING PROVIDED BY
Scenic Designer DANIEL CONWAY
Costume Designer KENDRA RAI
Lighting Designer NANCY SCHERTLER
Sound Designer/Composer MATTHEW M. NIELSON
Props Master KASEY HENDRICKS
Dialect Coach MELISSA FLAIM
Assistant Director/Dramaturg GABRIELLE HOYT
Associate Sound Designer JUSTIN SCHMITZ
Production Stage Manager CHE WERNSMAN*
CAST
(characters listed in order of appearance)
KATIE KLEIGER* ............................................................................................... Mary Bennet ERIN WEAVER* ........................................................................................... Elizabeth Darcy This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefi ts, including health and pension plans. AEA is a member of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org.
DANNY GAVIGAN* ................................................................................... Fitzwilliam Darcy KATIE deBUYS* ................................................................................................ Jane Bingley BRANDON MCCOY* .................................................................................... Charles Bingley WILLIAM VAUGHAN* .............................................................................. Arthur de Bourgh MIRANDA RIZZOLO+ .................................................................................. Lydia Wickham KATHRYN TKEL* ......................................................................................... Anne de Bourgh AMANDA FORSTROM+ ..................................................Understudy for Mary Bennet * Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States +Equity Membership Candidate
The scenic, costume, sound, & lighting designers are represented by United Scenic Artists, Local USA-829 of the IATSE.
Miss Bennet runs approximately two hours with one 15-minute intermission Sponsored in part through the generous support of Pasternak & Fidis. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
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I N T E R V I E W
W I T H
CO-WRITERS LAUREN GUNDERSON AND MARGOT MELCON EDITED FOR CLARITY BY DRAMATURG GABRIELLE HOYT
Why did you choose to write about Mary Bennet? LAUREN GUNDERSON
MM: In Pride and Prejudice, we know so little about Mary; she only ever says a couple lines of dialogue. Besides that, it’s an open book in terms of who this girl really is. And look, Lauren has a sister. I have a sister. We come from families of strong, awesome women. And imagining this young woman’s place in her family, given what we know from Pride and Prejudice, was an interesting jumpingoff point. She’s really marginalized in that book—she’s bookish, dowdy, self-righteous—and overlooked. Who is she? How does she defi ne herself? How do you defi ne yourself when this is how other people defi ne you? In this particular time period there were a lot of expectations and limitations, but that’s still true now. Women still have to struggle to create self-defi nition. And Mary is this great blank slate for us as playwrights to answer that question. Can I hear a little more about your co-writing process? LG: First, we fi gured out that the story’s heart was Mary’s journey from feeling like her future was set and small to a woman who realizes that she’s the heroine of the story, and that her future is bright and full of promise. That meant, as we rewrote the play, that we needed to make her journey organic and earned. We needed to make it hard for her, raise the stakes, and make her story complicated, while keeping her arc in mind. So that’s what we focused on and tried to punch up as we continued the rewriting process.
MARGOT MELCON
And of course, also making sure that we get to see where our favorite characters from Pride and Prejudice are now! MM: First thing we sketched out a scene-byscene outline of the whole play, so we knew what would happen in each scene. That was actually pretty easy to do because we were working in a Jane Austen model, and there’s a rhythm to the progression of her stories. As we began writing, Lauren would take the fi rst pass, I would go in and add all the words to make it Jane Austen-y, and Lauren would go and take half of them out because there were too many words. We actually wrote via Google Doc, so we could always see what the other person was writing. It really functioned because Lauren and I have worked together so many times and there was already an established level of trust. What are some of the challenges of adapting an author as famous as Jane Austen? LG: Pacing issues are huge. One word can make a line un-funny. Or in another scenario, even one syllable in a line can make something go from okay to hilarious. It was so important to us to honor Jane Austen’s legacy of humor. Our work need to have that playfulness and wit—everything that makes a good Jane Austen story. So would you say that Mary Bennet is a heroine for today? MM: Elizabeth Bennet is a heroine for the ages—but Mary is incredibly timely for the twenty-fi rst century. She’s geek-chic! That’s a hero who exists now who didn’t in Austen’s time—someone who can puzzle through a problem or concoct something to save the day. In this way Mary felt like a hero for now. We began this process wanting to write a delightful holiday show that had interesting women at the center of the story. But I have found in hearing people respond to the play that we did something a little bit more than we thought we would do: we wrote a feminist play. Miss Bennet is a story of women defi ning themselves, and a celebration of women as unique individuals fi nding their own voices. Our sweet holiday play turned into something far bigger, and I’m incredibly proud of that fact.
WHO’S WHO OF MISS BENNET You remember Mr. Darcy and Elizabeth Bennet...but what about Lydia? Mr. Bingley? The family de Bourgh? Refresh your memory of Pride and Prejudice and reconnect with your favorite characters using our Who’s Who.
MARY BENNET Curious. Intelligent. Wants to experience life.
ANNE DE BOURGH
ELIZABETH DARCY
Proud. Snooty. Misses her mother.
Wise. Witty. Sees the truth in everything.
CHARLES BINGLEY
JANE BINGLEY
Easy going. Charming. Good natured to a fault.
Gentle. Generous. Sees the best in everyone.
FITZWILLIAM DARCY
LYDIA WICKHAM
Taciturn. Observant. Reserves his warmth for those he loves.
Foolish. Flirtatious. Married to a scoundrel.
ARTHUR DE BOURGH
Bookish. Awkward. Lonely, but he doesn’t know why.
Sister Married
Cousin Best Friend
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CAST K ATIE KLE IG E R (M ar y Bennet) is thrilled to make her Round House debut with Miss Bennet. Other D.C. credits include the premiere of the new play Home, Again at the Kennedy Center, and A Christmas Carol at Ford’s Theatre. Off-Broadway credits include Ring Twice For Miranda (2017), and The Fall at Soho Playhouse, part of the NYC Fringe Encore Series. Outside of New York, Katie has worked with the Guthrie Theater on such projects as Juno and the Paycock, Christmas Carol, and Blue Stockings, as well as with St. Croix Festival Theater, Minnesota Centennial Showboat, and the Interlochen Shakespeare Festival. Training: University of Minnesota/Guthrie BFA Actor Training Program. ERIN WEAVER (Elizabeth Darcy) is excited to be back at Round House where she last played Phoebe in The Nutcracker, Deb in Ordinary Days (Helen Hayes Award), Meg in A Wrinkle in Time, and Mary in A Murder, A Mystery and A Marriage, and where she will appear later this season as Woman in Or,. Recent D.C. credits include Marianne in Sense & Sensibility at the Folger Theater, where she also played Puck in A Midsummer Night’s Dream, Juliet in Romeo and Juliet (Helen Hayes nomination) Luciana in The Comedy of Errors and Thomasina in Arcadia (Helen Hayes Award). Other area performances include Kattrin in Mother Courage and Her Children (Helen Hayes Award, directed by Molly Smith, starring Kathleen Turner) at Arena Stage, Amy in Company (Helen Hayes Award), Cathy in Last Five Years (Helen Hayes nomination) and Kira in Xanadu (Helen Hayes nomination) all at Signature Theatre, Skuggle in The Night Fairy at Imagination Stage, and the Lump of Coal in A Lump of Coal for Christmas at Adventure Theatre. Erin started her professional career playing young Cosette/Eponine in the first national tour of Les Misérables and went on to perform regionally at the California Shakespeare Theater, Arden Theatre, People’s Light and Theatre Company (where she received a Barrymore Award for their production
of Cinderella, Best Ensemble) among others. She is currently a proud resident of Silver Spring with her husband Aaron and daughter Maisie. DANNY GAV I GA N (Fitzwilliam Darcy) previously appeared at Round House Theatre in NSFW, How to Write a New Book for the Bible, Bengal Tiger at the B a g h d a d Zo o, D o u b l e Indemnity, and Pride and Prejudice. D.C.-area credits include The Admission at Theatre J; Detroit at Woolly Mammoth Theatre; Really Really at Signature Theatre; Mojo and All That I Will Ever Be at Studio Theatre. Regional credits include a co-production of Peer Gynt at La Jolla Playhouse and Kansas City Rep; The Rivals and Snow Falling on Cedars at Center Stage; and most recently a rotating rep of Streetcar Named Desire and Death of a Salesman at Everyman Theatre. Danny is a member of the resident acting company at Everyman Theatre in Baltimore. He can be seen next at Ford’s Theatre in Who’s Afraid of Virginia Woolf and Death of a Salesman as well as Noises Off at Everyman Theatre. K AT I E d e B U YS (J a n e Bingley) joyfully returns to Round House after playing Aimee in The Night Alive, May in Fool for Love, and Kate in S e m i n a r ( H e l e n H ayes Nomination). Select D.C.-area credits include the world premiere and remount of Stupid F**king Bird and In The Next Room, or the vibrator play at Woolly Mammoth; Henry V, The Conference of the Birds, and The Gaming Table at Folger Shakespeare Theatre; and Measure for Measure at Shakespeare Theatre Company. Regionally, she has performed at Portland Center Stage, Syracuse Stage, Indiana Repertory Theatre, and the Texas Shakespeare Festival. Katie grew up in Santa Fe, New Mexico, graduated from Northwestern University, went ahead and got an MFA at UT Austin, and will next perform in The How and the Why at Theater J this winter. BRANDON MCCOY (Charles Bingley) returns to the Round House stage having previously appeared as Eli in The Who & The What, Sam in NSFW, Brian in The Lyons and
Fitzwilliam/Denny in Pride and Prejudice. His work has been featured at numerous area theaters including, Imagination Stage, Theatre J, Rep Stage, Studio Theatre, Studio Theatre 2nd Stage, Arena Stage, Olney Theatre Center, No Rules, The Bay Theatre, Forum Theatre, Theatre Alliance, and Keegan Theatre where he is a proud company member. Brandon was a principle character in HBO’s VEEP in seasons two and four. He received an MFA in Acting from the Catholic University of America, and a BFA in Acting/Directing from Marshall University in his hometown of Huntington, West Virginia. Brandon is the Lead Teaching Artist for Round House Theatre Education, a college professor, as well as an accomplished musician and stand up comedian. As always, for mom and dad. WILLIAM VA U G H A N (Arthur de Bourgh) is thrilled to be returning to Round House Theatre after appearing as Vic last fall in the World Premiere of Ironbound. D.C. credits include District Merchants, Julius Caesar, Twelfth Night, and Romeo and Juliet (u/s) at Folger Theatre; The Flick, Tender Napalm (u/s) at Signature Theatre; Abominable at The Hub Theatre; Romeo and Juliet and The Winter’s Tale at We Happy Few. Other credits include: A Tale Told by an Idiot, produced by Psittacus productions through Lincoln Center Education; The Lost Colony at Waterside Theatre; The Three Musketeers at Theatre Carolina. Film: Dreadful Sorry, Colonizing the New World. William can next be seen onstage as Fedotik in Three Sisters and No Sisters at Studio Theatre. MIR AN DA RIZZOLO (Lydia Wickham) is thrilled to be making her Round House as well as her professional debut in Miss Bennet! She is a graduate of Yale University and recently received her master’s degree in acting from the London Academy of Music and Dramatic Art (LAMDA) on a Marshall Scholarship. London credits include Measure for Measure, The Duchess of Malfi, Richard III, and The Subject. Previous acting credits include The Taming of the Shrew, La/Dy/Da (a devised interpretation of Henry James’ The Portrait of a Lady) and Iphigenia at Aulis. mirandarizzolo.com.
for the Susan Smith Blackburn Prize. She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. Her work has been commissioned, produced and developed at companies across the US including South Coast Rep (Emilie, Silent Sky), The Kennedy Center (The Amazing Adventures of Dr. Wonderful And Her Dog!), The Eugene O’Neill Theater Center, Denver Center, Berkeley Rep, Shotgun Players, TheatreWorks, Crowded Fire, San Francisco Playhouse, Marin Theatre, Synchronicity, Olney Theatre, Geva and more. Her work is published at Playscripts (I and You, Exit, Pursued By A Bear, and Toil And Trouble) and Samuel French (Emilie). She is a Playwright in Residence at The Playwrights Foundation, and a proud Dramatists Guild member. She is from Atlanta, GA and lives in San Francisco. MARGOT MELCON (Playwright) is a theater artist, administrator and writer. She was the AMAN DA F O R S T R O M Director of New Play Development at Marin (Understudy) is thrilled to be Theatre Company for seven years, where she making her Round House debut! dramaturged over 30 productions - including D.C. credits include Sense and six world premieres - and administered the Sensibility (U/S), Julius Caesar company’s two annual new play prizes and (AD), and Twelfth Night (U/S) commissioning program. She has developed at the Folger Theatre; Tartuffe plays with TheatreWorks, Bay Area Playwrights (U/S) at The Shakespeare Theatre Company; Festival, Crowded Fire Theater, Shotgun Players, Picasso at the Lapin Agile at Keegan Theatre; Berkeley Rep’s Ground Floor, the Kennedy Center, The Tempest, Titus Andronicus, Bloody Poetry, the New Harmony Project, and The Playwrights’ and Charm at Taffety Punk Theatre Company; Center in Minneapolis. She is currently the Very Still & Hard To See (Helen Hayes Award Program Executive for Promoting Culture at Nomination, Outstanding Production), and She the Zellerbach Family Foundation. Margot is a Kills Monsters at Rorschach Theatre; War of graduate of California State University, Chico. the Worlds, (Prague Fringe Festival) Antigone Now (Preseren Festival) and Handbag with ELEANOR HOLDRIDGE (Director) is thrilled SCENA Theatre; Orlando at WSC Avant Bard; to be back at Round House Theatre, where Adventures of Mr. Bear, Snow Day, and Point she has directed The Who And the What and A to Point B at Arts On The Horizon. Off- Double Indemnity. Off-Broadway productions Broadway: Julius Caesar and Color Between The include world premieres of Selma ’65 Lines at The Irondale Ensemble. Regional: (LaMaMa), Steve & Idi (Rattlestick Playwrights Cymbeline at the Virginia Shakespeare Festival; Theatre), and Cycling Past The Matterhorn The Lost Colony. TELEVISION: Bennie’s Gym (Clurman Theatre). Regional credits include (with Ed Asner), NewsWatch. FILM: UNION. world premieres of Lauren Gunderson’s The Revolutionists (Cincinnati Playhouse), Caleen Sinnette Jennings’ Queens Girl in the World (Theatre J) and Darius & Twig (Kennedy Center TYA), Gunderson’s I and You (Olney and Geva theaters) Zorro (Constellaton Stage), which she LAUREN GUNDERSON (Playwright) is one co-wrote. Eleanor holds an MFA from Yale and is of the most produced playwrights in America, Head of Directing and Producer at The Catholic and the winner of the Lanford Wilson Award, University. Her most recent production was Steinberg/ATCA New Play Award, and a finalist Copenhagen at Theater J and upcoming projects
KATHRYN TKEL (Anne de Bourgh) is delighted to be making her Round House Theatre debut. D.C.-area credits include: Sense and Sensibility at Folger Theatre; An Octoroon at Woolly Mammoth; The Guard at Ford’s Theatre; Venus in Fur and Hunting and Gathering at Rep Stage; By the Way Meet Vera Stark at Everyman Theatre; Promised Land at Mosaic Theater Company; Mockingbird at The Kennedy Center TYA. Regional credits include: Romeo and Juliet at Arizona Theatre Company; Legacy of Light and Secret Order at San Jose Repertory Theatre; Den of Thieves and The Story at San Francisco Playhouse; Almost Nothing and Day of Absence at Lorraine Hansberry Theatre; Steel Magnolias at California Conservatory Theatre; The Kentucky Cycle at Willows Theatre. She is a graduate of The University of California, Irvine and received her MFA from The Academy for Classical Acting.
M
TEA C I T S I T AR
include the world premiere of Meg Miroshnik’s Fickle: A Fancy French Farce, freely adapted from the play by Marivaux. (Olney Theatre). DANIEL CONWAY (Scenic Designer) has designed over a dozen productions for Round House Theatre including One Flew Over the Cuckoo’s Nest directed by founding Artistic Director Jerry Whiddon. Recent productions include: The Tempest for Chicago Shakespeare Theatre, American Repertory Theatre and The South Coast Repertory Theatre; Penn & Teller on Broadway; Jelly’s Last Jam for Signature Theatre; Hand to God for Studio Theatre; and Vanya, Sonia, Masha and Spike for Arena Stage. Current projects include: At Wit’s End for Cincinnati Playhouse, No Sisters and Three Sisters for Studio Theatre. He is the recipient of 12 nominations and three Helen Hayes Awards including Stunning for Woolly Mammoth Theatre. KENDRA RAI (Costume Designer) is pleased to return to Round House Theatre, where she recently designed The Who and the What. D.C.-area credits include, among many others: Constellation Theatre Company (Associate Artist): The Green Bird (2012 Helen Hayes Award for Outstanding Costume Design); Synetic Theater (Company Member): The Island of Doctor Moreau (2015 Helen Hayes Award for Outstanding Costume Design); Olney Theatre Center: Hay Fever; Imagination Stage: A Year With Frog and Toad; Theater Alliance: Dontrell Who Kissed the Sea; Adventure Theatre MTC: Garfield, The Musical With Cattitude. Kendra’s design for Three Little Birds was seen offBroadway at the New Victory Theater. National and International tours include Cosi fan tutti and Les Femmes Vengees with Opera Lafayette. In addition to her Helen Hayes awards, Kendra is a Princess Grace Honorarium recipient and a member of United Scenic Artists. Kendra is a Full-Time Lecturer at Howard University. NANCY SCHERTLER (Lighting Designer) is delighted to be working once again at Round House Theatre where she designed director Eleanor Holdridge’s productions of The Who and The What and Double Indemnity. Broadway: Fool Moon and Bill Irwin’s Largely New York (Tony nom.) Regional theatre credits include designs for new works produced by Arena Stage, The American Conservatory Theatre in San Francisco, The Seattle Repertory, Milwaukee Repertory Theatre, and The Children’s Theatre of Minneapolis. World premiere opera productions
include The Difficulty of Crossing a Field commissioned by The American Conservatory Theatre, and Shadowboxer, Clara and Later the Same Evening commissioned by the University of Maryland Opera Studio. MATTHEW M. NIELSON (Sound Designer/ Composer) Round House sound design and composition credits include The Who & The What, Rapture, Blister, Burn, The Nutcracker, Two Trains Running, Young Robin Hood, Double Indemnity, Crown of Shadows, Next Fall, Amadeus, Around the World in 80 Days, My Name is Asher Lev, Eurydice, The Book Club Play, and A Prayer for Owen Meany (Helen Hayes Award). Other credits: Cincinnati Playhouse, Milwaukee Rep, St. Louis Rep, Portland Center Stage, Forum Theatre (Helen Hayes Award, The Illusion), Catalyst Theatre (Helen Hayes Award, 1984), Theatre Alliance (Helen Hayes Award, The Wonderful World of Dissocia), Woolly Mammoth, Signature Theatre, Olney Theatre, The Kennedy Center, Rorschach, Delaware Theatre Company, Philadelphia Theatre Company, Barrington Stage Company, CATF, the Smithsonian Institution, Ford’s Theatre, Arena Stage, and Adventure Theatre. Off-Broadway sound design credits include the Joseph Papp Public Theatre/New York Shakespeare Festival. Film and TV credits include The Hero Effect, Elbow Grease, From Hell to Here, A Sleepover Story, The Long Road, Epix Drive-In, the Discovery Channel, National Geographic and Delivery. com. He is a founding member of audio theater company The Audible Group and creator of the series Troublesome Gap. He runs Sound Lab Studios, a premiere recording studio and production house in North Carolina. Samples can be heard through his publishing company, curiousmusic.com. KASEY HENDRICKS (Props Master) is thrilled to be returning as Props Master for Miss Bennet. Previously, she has worked with Round House on The Who & The What, Cat on a Hot Tin Roof, Father Comes Home from the Wars (Parts 1, 2 & 3), Stage Kiss, The Night Alive, Ironbound, Seminar, and Rapture, Blister, Burn. Her other Props Master credits in the area include Wolf Trap Opera’s Carmen, La Traviata, The Marriage of Figaro, Madame Butterfly, and The Ghosts of Versaille; as well as Constellation Theater’s 36 Views. As Props Assistant at The Woolly Mammoth Theatre Company she worked on The Elaborate
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Entrance of Chad Deity, The Convert, and Stupid Fucking Bird. MELISSA FLAIM (Dialect Coach) is a professional actress, vocal coach and educator who lives and works in Washington D.C. She has served as the Vocal Coach for Constellation Theatre on their production of Zorro, The Gaming Table at The Folger, and Woolly Mammoth’s production of Measure for Pleasure. For Baltimore Shakespeare Company: Rosencrantz and Guildenstern Are Dead and Love’s Labour’s Lost. WSC/Avant Bard productions include A Midsummer Night’s Dream, Scaramouche, Jumpers and Titus Andronicus. As a member of the faculty at CUA she has coached a number of productions including: Boody Poetry, Pride and Prejudice, The Revolutionists, Merchant of Venice, Shakespeare in Hollywood, Brutus, Tartuffe, Cymbeline, The Resistable Rise of Arturo Ui, The Seagull, Romeo and Juliet and Love’s Labour’s Lost. Ms. Flaim is also a vocal coach in the private sector and has clients in government, law, business, liturgical and not-for-profi t professions. GABRIELLE HOYT (Assistant Director/ Dramaturg) is thrilled to return to Round House as Artistic Fellow, and to serve as dramaturg for the 2016-2017 Season. She is currently developing The Thay Bay Play, and recently directed The Wind Up at the Cape Cod Theatre Project, and Nothing Besides Remains at 24 Hour Plays: Nationals. As Round House’s artistic apprentice, she assistant directed plays including the world premiere of Ironbound by Martyna Majok, and Cat on a Hot Tin Roof. A graduate of Yale University, Gabrielle is also the Artistic Associate at the Cape Cod Theatre Project. JUSTIN SCHMITZ (Associate Sound Designer) is extremely excited to have his fi rst design experience with Round House! D.C. sound design credits include productions at The Kennedy Center, Signature Theatre, Olney Theatre Center, Studio Theatre, Theater J, Forum Theatre, Imagination Stage, UMD, and Catholic University. Regionally credits include The Dixon Place Theater - NYC, Chautauqua Theater Company - NY, Triad Stage - NC, Children’s Theatre Company Minneapolis, Actors Guild of Parkersburg WV, and The Pump House - WI. Fellowships include The Kennedy Center’s Kenan Institute
Sound Design Fellowship, The Orchard Project through The Kennedy Center, and Chautauqua Theatre Company. Up Next: I Want to Fucking Tear You Apart at Studio Theatre, a remount of Darius and Twig at The Kennedy Center, and the continued launch of his newly co-founded theatre company Do Good Theatre with Sonya Robbins Hoffmann. Visit www. justinschmitztheatre.com for more details and to hear his work. CHE WERNSMAN (Production Stage Manager) is thrilled to be at Round House Theatre this season! Previously, she was on the stage management team for Angels in America: Parts I and II, and was Production SM for Father Comes Home from the Wars (Parts 1, 2 & 3), The Beauty Queen of Leenane, I Love to Eat, The Little Prince, A Prayer for Owen Meany, and Once on This Island. Che has worked extensively throughout the DC/Baltimore area, managing shows at Imagination Stage, The National, The Kennedy Center, Folger Theatre, Shakespeare Theatre Company, Theater J, Mosaic, Studio, Everyman, Rep Stage, CenterStage, Olney and Virginia Shakespeare Festival. Ms. Wernsman has a Bachelor of Science from Virginia Tech and is a proud member of Actors’ Equity Association.
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AL PROD ADDITION
Production Assistant: Jessica Short Wardrobe: Anastazia Whittle Additional Carpentry: Sean Collins, Colin Cranford, Josie Felt, Molly Hall, Kevin Karstaedt, Tomas Linn, Alex Monsell, Mikey Showers Electricians: Stefanie DeHart, Peter Gambardella, Chris Hall, Sarah Mackowski, Rachel Prell, Will Voorhies Wigs: Anne Nesmith Draper: Anna Klinger Stitchers: Michele Macadaeg, Jesse Shipley Assistant Scenic Designer: Richard Ouellette Assistant Lighting Designer: Howard Dent Special Thanks: Catholic University Full Round House staff listed on page 15.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefi ts, including health and pension plans. AEA is a member of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org. The scenic, costume, sound, lighting, & projection designers are represented by United Scenic Artists, Local USA-829 of the IATSE.
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THANK YOU to all of the CORPORATE, FOUNDATION, GOVERNMENT, and INDIVIDUAL donors who make generous annual contributions to Round House Theatre during the 2015-2016 and 2016-2017 seasons. These tax-deductible gifts help the theatre continue to produce excellent productions and education programs and keep them accessible to our entire community. Please consider becoming a donor and start receiving benefits today! For more information about making a donation of cash, securities, or in‑kind services, please contact the Round House Theatre Development Department at 240.644.1403. ROUND HOUSE INNER CIRCLE
BRONZE CIRCLE ($ 5 ,0 0 0 – $ 9, 9 9 9)
Don and Nancy Bliss Don and Jan Boardman Ann and Frank Gilbert Arts & Humanities Council of John and Margaret Hauge Montgomery County Henry B. & Jessie W. Keiser Cathy S. Bernard Foundation Maryland State Arts Council Bruce and Ann Lane Family Fund Judy and Leo Zickler Judy and Brian Madden P L AT I N U M C I R C L E Heidi and Bill Maloni ($ 5 0 ,0 0 0 – $ 9 9, 9 9 9) Paul and Zena Mason The Morris and Gwendolyn Cafritz Nora Roberts Foundation Foundation Susan and Bill Reinsch Heidi and Mitch Dupler Kevin Roberts Hank Schlosberg GOLD CIRCLE Dian and Steve Seidel ($ 2 5 ,0 0 0 – $ 4 9, 9 9 9) Robin Sherman Michael Beriss and Jean Carlson Mark and Merrill Shugoll Data-Prompt, Inc. Patti and Jerry Sowalsky Alan and Bonnie Hammerschlag Dick and Katie Snowdon Steve Joyce Carol Trawick MARPAT Foundation Laura and Robert Walther Nora Roberts Foundation The Weissberg Foundation Share Fund Anne and Robert Yerman The Shubert Foundation D I A M O N D C I R C L E ($10 0,0 0 0 +)
S I LV E R C I R C L E ($10 ,0 0 0 – $ 24 , 9 9 9)
Margaret Abell Powell Fund of the William S. Abell Foundation Esthy and Jim Adler Lorraine and Doug Bibby Elaine and Richard Binder Choice Hotels International Clark Charitable Foundation The Cora and John H. Davis Foundation Richard and Pamela Feinstein Susan Gilbert and Ron Schechter Carolyn and Warren Kaplan Daniel Kaplan and Kay Richman Jeffrey and Carolyn Leonard Marion Ein Lewin J. Willard and Alice S. Marriott Foundation National Endowment for the Arts Pasternak & Fidis Linda Ravdin and Don Shapero The Rowny Foundation Sulica Fund Bernard and Ellen Young
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Alan and Irene Wurtzel Lynda and Joseph Zengerle Paul and Margot Zimmerman
ANNUAL FUND SUPPORTERS
Roger Williams and Ginger Macomber A DVO C AT ES ($ 5 0 0 – $ 9 9 9)
Rachel H.M. Abraham Kate and Stephen Baldwin Teresa and Brent Blackwelder F E L LOW S ($1 , 5 0 0 – $ 2 ,4 9 9) Marian Block and Ed Rosie Lynn and Bill Choquette Dr. Clement Alpert Don and Kristin Cook Kenneth and Sue Ann Berlin Arlene Friedlander Frances Chyatte Stuart and Beverly Greenfeig Fleishhacker Foundation Edward Grossman and Rochelle Carol Sue Fromboluti Stanfield Greene-Milstein Family Foundation Robert E. Hebda Mindy Hecker Patti Herman Robbins and Giles Hopkins Liza Hogan Reba and Mark Immergut William L. Hopkins and Richard B. Bill and Kathryn Lane Anderson Frank and Joanne Lavin Bob and Wendy Kenney Lerch, Early & Brewer Laura and David Klaus Chris and Kathleen Matthews Bryan Kustner Chase Phillips Darrell Lemke and Maryellen Lee and Trina Rubenstein Trautman Howard and Harriet Shapiro Susan Lutz and John Maser Pamela and John Spears Louise Maillett B E N E FACTO R S COPPER CIRCLE Winton Matthews, Jr. ($1 ,0 0 0 – $1 ,4 9 9) ($ 2 , 5 0 0 – $ 4 , 9 9 9) Doug and Mary Beth McDaniel Natalie Abrams Don McMinn Patricia Alper-Cohn and David Nancy and Dan Balz Rona and Allan Mendelsohn Cohn Dottie Bennett Catherine and Dennis O’Reilley Marla and Bobby Baker, BakerCommunity Foundation of Mark and Teresa Plotkin Merine Family Foundation Montgomery County Jennifer Porter Chevy Chase Trust William and Donna Eacho Barbara Rapaport City of Rockville David and Jane Fairweather Julie and Ron Redfern Dallas Morse Coors Foundation Thomas and Kathleen Fingleton Sheldon and Barbara Repp for the Performing Arts Paul and Shauna Fitzgerald Sandy Reznick Dimick Foundation Carole and Robert Fontenrose Ryan and Christy Rilette Jan and Jim Eisner Michael and Ilana Heintz Dr. Susan C. Robertson Laura Forman and Richard Bender Robin Hettleman and Matthew Steven M. Rosenberg and Stewart Eric and Jessica Glantz Weinberg C. Low III Graham Holdings Erin and Mark Kopelman Eric and Shelley Rubin Neil Greene and Ellen G. Miles Janet Leno Linda Ryan Linda Lurie Hirsch Lynn and Phillip Metzger Amy Selco and Kevin Keeley JBG Companies Stacy Murchison Silver Spring-Kensington Rotary Marriott International, Inc. P. David Pappert Club Susan Freeman McGee Mark and Ellen Rosenthal Michelle Six Scott and Louise Melby David and Peggy Shiffrin Arthur Spitzer and Elisabeth Boas Jeffrey Menick Joan Shugoll Luanne and Marc Stanley Sally J. Patterson Susan and John Sturc Ed and Judy Zakreski Patricia Payne TrueTheatergoer, LLC Victor Shargai and Craig Pascal Jerry and Jean Whiddon Mier and Cathy Wolf
A S S O C I AT ES ($ 2 5 0 – $ 4 9 9)
Actors’ Equity Foundation, Inc. Anonymous Celia Arnaud Nan Beckley Ellen L. Berman Patricia Bryant Martin and Barbara Buzas Tom Calhoun and Thelma Triche Jane and Fred Cantor Wallace Chandler Stacey Colino Richard Cooper Linda and Joseph Dominic Pat Dorazio Peggy Dugan Anne and John Elsbree Clare Evans Duane and Barbara Fitzgerald Jackie Greenbaum Susan Greif Helene Guttman Frank Guzzetta and Paul Manville Bill Hamilton and Paula Jackson Barbara and William Hancock Judith Hautala Susan R. Hoffmann Nikki Hoffpauir Larry Hothem Carol and Terry Ireland Judy and Peter Jablow Larry and Sue Jeweler David and Lisa Jones Richard Kasten Craig and Stephanie Kiker Judy Gilbert Levey and Jeff Levey Erik Lichtenberg Joan Lynn Virginia Mahoney Deanna and Thomas Marcum Pat McKee John and Marie McKeon Lisa Mezzetti Joann Mican and Skip Mahon Ina Milton Martha Newman Bill and Suzanne Noonan Geri and Dick Olson Judith Oppenheim Terry Peel Posner-Wallace Foundation Blake Robison and Connan Morrissey Marilyn and Barry Scheiner Mary Schellinger Sara Schotland Edward Scott Perry and Dianne Seiffert Roger Simon
Cora Simpson Linda and Steve Skalet David Stevens Ann Truss United Way of the National Capital Area Joan and Stanley Weiss Larry Williams and Patti Pride Kathryn Winsberg and Newton Stablein M ATC H I N G G I F T C O M PA N I ES
Ameriprise GE Foundation Reynolds American Foundation IN-KIND DONORS
7 Locks Brewing Amtrak Cabot Creamery of Vermont Chevy Chase Florist The Daily Dish Denizens Brewing Co. Founding Farmers Honest Tea Company Jaleo Kapnos Kouzina PassionFish PEPCO Pete’s New Haven Style Apizza Shugoll Research Silver New American Brasserie Vamoose Zeke’s Coffee Zivaara Round House Theatre is supported in part by funding from the Montgomery County government, The Arts and Humanities Council of Montgomery County, and the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive (MSAC is funded by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art). The theatre is deeply grateful for the continued support of its federal, state, and local elected officials. Every gift is important to us, and we’re grateful to those who contribute at all levels. Due to space constraints, however, we are only able to list donors giving $250 or more. List is current as of November 1, 2016 and reflects the giving of an individual or organization for the fiscal year 2016 or 2017, whichever is greater. While we make every effort to provide accurate acknowledgement for our contributions, occasionally errors occur. We appreciate your patience and assistance in keeping our lists current. To make corrections, please contact the Development Department at 240.644.1403.
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Check out our Support Us page at RoundHouseTheatre.org for
NEW DONOR BENEFITS including new Inside Look events, concessions discount, and much more!
For more information, visit our website or contact us at 240.644.1403 or Development@RoundHouseTheatre.org
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to New York City for Music, Art, Theatre, Dance, and Entertainment! Convenient schedules, pick-up and drop-off points!
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www.VamooseBus.com • 301-718-0036
BOARD
TEE OF TRUS
S
Mitchell S. Dupler, President Sally J. Patterson, Immediate Past President Susan Gilbert, Vice President Cathy S. Bernard, Treasurer Erin Kopelman, Secretary Michael Beriss Douglas M. Bibby Elaine Kotell Binder Laura Forman Ann Gilbert Kimberly Gilbert Eric Glantz Bonnie Hammerschlag Steve Joyce Daniel Kaplan Bruce S. Lane Marion Ein Lewin Paul Mason Susan Freeman McGee Scott Melby Linda J. Ravdin Ryan Rilette Kevin Roberts Mark Shugoll Patti Sowalsky Mier Wolf Ed Zakreski Judith H. Zickler General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.
ADVISO
D RY BOAR
Jerry B. Whiddon, Producing Artistic Director Emeritus Guido Adelfio Esthy and James Adler Norman A. Barker Sue Ann Berlin Jean Carlson Donna W. Eacho Carol Brown Goldberg Reba Immergut Peter A. Jablow Mark and Tory Joseph Betsy Karmin Audrey and Sheldon Katz Ann Lane Frank and Joanne Lavin Gordon and Jocelyn Linke Dorothy and William F. McSweeny Chuck Muckenfuss Eliot Pfanstiehl Trina and Lee G. Rubenstein Ron Schechter Marilyn Scheiner Jeremy W. Schulman Victor Shargai Robin Sherman William J. Sim Richard W. Snowdon, III Shellie Steinberg Manny Strauss Kathy Yanuck Wenger Roger Williams Andrew A. Zvara
STAFF LEADERSHIP Artistic Director: Ryan Rilette Managing Director: Ed Zakreski ARTISTIC/PRODUCING Associate Producer: Danisha Crosby Artistic Fellow: Gabrielle Hoyt Artistic Apprentice: Philip Kershaw PRODUCTION Production Manager: Jesse Aasheim Technical Director: Eric Knauss Assistant Technical Director: Jose Abraham Master Electrician/Audio Supervisor: Liz Sena Costume Shop Manager: Rachel Schuldenfrei Scenic Charge: Jenny Cockerham Master Carpenter: Shaun Bartlow Production Apprentice: Laura Sperling
EDUCATION Education Associate: Kathleen Mason Lead Teaching Artist: Brandon McCoy Education Apprentice: Laura Loy Faculty: Wyckham Avery, Mariel Berlin-Fischler, Audrey Bertaux, Ashley Blair, Mark Cabus, Reenie Coldeko, Laura Cole, Ian Coleman, Kevin Corbett, Dani Ebbin, Amanda Forstrom, Dominique Fuller, Kelsey Hall, Emma Hébert, Casey Kaleba, Ava Knox, Roni Lancaster, Sabrina Mandell, David Mavricos, Laura Miller, Monica Powell, Melrose Pyne, Christopher Richardson, Mimi Rinaldi, Jonathan Rizzardi, Andy Stoffel, Kris Thompson, Michele Vicino, Rick Westercamp
TS 17 ARTIS 2016 – 20 ACTORS Jonathan Bock Joseph Carlson Theresa Cunningham Felicia Curry Katie deBuys Will Gartshore Danny Gavigan Kimberly Gilbert Mitchell Hébert Naomi Jacobson Thomas Keegan Katie Kleiger Eugene Lee John Lescault Gregory Linington Sarah Marshall Griffin McCahill V. Savoy McIIwain Jon Hudson Odom Micah Payton Nova Y. Payton Miranda Rizzolo Olivia Russell Dorea Schmidt Awa Sal Secka Scott Sedar Tom Story Kathryn Tkel Holly Twyford Dawn Ursula William Vaughan Korinn Walfall Kara-Tameika Watkins Erin Weaver Delores King Williams
DESIGNERS Clint Allen Christopher Baine Andrew R. Cissna Daniel Conway David Gallo Paige A. Hathaway Joshua Horvath York Kennedy James Kronzer Frank Labovitz Matthew M. Nielson Fitz Patton Kendra Rai Constanza Romero Nancy Schertler Dan Moses Schreier Jason Sherwood Ivania Stack Thom Weaver Grant Wilcoxen DIRECTORS Matthew Gardiner Eleanor Holdridge Todd Kreidler Jason Loewith Aaron Posner Ryan Rilette Gabrielle Hoyt (assistant) Philip Kershaw (assistant) PLAYWRIGHTS Liz Duffy Adams Lauren Gunderson
ADMINISTRATION General Manager: Tim Conley Accountants: Raffa, P.C. DEVELOPMENT Director of Development: Laura Blackwelder Manager of Institutional Giving: Mary Bounds Campaign Coordinator: Amanda Kegu MARKETING & COMMUNICATIONS Director of Marketing & Communications: Bryan Joseph Lee Associate Director of Marketing & Communications: Sarah Randall Graphic Design & Content Manager: Grace Toulotte
Tony Kushner Margot Melcon Diana Metzger Jeanine Tesori August Wilson STAGE MANAGERS Marne Anderson John Keith Hall Che Wernsman TEEN PERFORMANCE COMPANY Alex Haddad Liza Hazelwood Maren Beriss Isabelle Koff Lily Metzger Willa Murphy Roma Venkateswaran Ben Bradshaw Declan Conditt Ben Beriss Derek Lamb Keira DiGaetano Julia Matney Carol Kelleher Queen Griffin Carly Sturm Victoria Keith Cole Greenberg Malaika Bhayana Marie Brier Lucas Craig
AUDIENCE SERVICES Director of Audience Services: Wil E Johnson III Box Office Manager: Latashia Carney Box Office Associates: Francisco Borja, Marquita Dill, Gabrielle Hoyt, Tionge Johnson, Philip Kershaw, Steve Langley, Lindsey Long, Torin Lusebrink, Nashira Rawls, Matthew Rock Lead House Manager: Michele Cesar Turner House Management Staff: Tiffany Broadus, Lorraine Ebbin, Samara Fantie, Richard Lambert, Lori Lentner Schwartz, Ellen Menown, Sarah Trunk
UP
16
NEXT
AT
ROUND
A CELEBRATION OF TONY KUSHNER
JAN 25 - FEB 26, 2017 MUSIC BY
JEANINE TESORI B O O K & LY R I C S B Y
TONY KUSHNER DIRECTED AND CHOREOGRAPHED BY
MATTHEW GARDINER Join us as we present the largest musical in Round House’s history! Set in the heat of the Civil Rights Movement, the Tony-nominated Caroline, Or Change follows a black maid working for a middle-class Jewish family in Louisiana. When a small amount of money goes missing, long-burried tensions threaten to rip two families - and the struggling Caroline - apart. Loosely based on Kushner’s personal story, Caroline blends blues, gospel, and traditional Jewish melodies into a magical, show-stopping musical masterpiece. F E A T U R I N G NOVA Y. PAYTON* THERESA CUNNINGHAM FELICIA CURRY WILL GARTSHORE NAOMI JACOBSON JOHN LESCAULT ELIJAH MAYO V. SAVOY MCILLWAIN GRIFFIN MCCAHILL
MICAH TATE OLIVIA RUSSELL AWA SAL SECKA DOREA SCHMIDT SCOTT SEDAR KORINN WALFALL KARA-TAMEIKA WATKINS DELORES KING WILLIAMS
A R T I S T I C
T E A M
Musical Director JON KALBFLEISCH Scenic Designer JASON SHERWOOD Costume Designer FRANK LABOVITZ Lighting Designer GRANT WILCOXEN Sound Designer FITZ PATTON *pictured
HOUSE